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The standard catalogue raisonne of Gericault's prints, a marked improvement on Delteil. 108 items illustrated and described in detail. 4to. Original wraps. FINE AND BRIGHT, like new.
340X510 mm. Unpaginated pages and 13 plates laid in portfolio. Portfolio yellowing and slightly stained. Portfolio edges slightly torn. Pages edges slightly worn. Pages yellowing. Else in good condition.
Text in German. Sections on European prints of the 17th century, 18th century, 19th century and the early 20th century. This is one of the classic surveys of print-making. 121 page text and 35 tipped-in color prints on heavy black stock, and hundreds of black & white illustrations. Another volume in the interesting series published by Propylaen Verlag. 10" high X 8" wide, 716 pages. This is a very good hardcover copy in green paper-covered boards, black leather spine with gilt titles. The cover edges are a little worn, but the inside text pages and especially the plates are fresh and clean. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
This is a very good hardcover copy in green paper-covered boards, black leather spine with gilt titles. This copy used to belong to an ivy league university club in New York, and has their bookplate on the inside front cover (with their de-accessioning stamp), and a small blindstamp on the lower corner of the title-page. The covers are a little worn, but the inside text pages and especially the plates are fresh and clean. Text in German. Sections on European prints of the 17th century, 18th century, 19th century and the early 20th century. This is one of the classic surveys of print-making. 121 page text and 35 tipped-in color prints on heavy black stock, and hundreds of black & white illustrations. Another volume in the interesting series published by Propylaen Verlag. 10" high X 8" wide, 716 pages. This book will be securely packed and shipped with tracking.
TWO VOLUME SET. 15.5x12 cm. Unpaginated. Hardcover. Spine hinges cracked. Pages slightly yellowing. Else in good condition.
Cartelletta contenente una acquaforte acquatinta originale firmata di Giuliano Collina (cm 22,5x17) e una acquatinta ceramolle originale firmata di Aoi Huber-Kono (cm 23x17) Acquatinte incise su rame e stampate da Angelo Tenchio. Esemplare III/X. Cartella cm 47x36. pp.. . Ottimo (Fine). . Tiratura 50 + X es. numerati. .
- Lucien Vogel éditeur, Paris Avril 1913, 19x24,5cm, une feuille. - Original color print heightened with palladium, printed on vergé paper, signed in the plate. An original print used to illustrate the Gazette du bon ton, one of the most attractive and influential 20th century fashion magazines, featuring the talents of French artists and other contributors from the burgeoning Art Deco movement. A celebrated fashion magazine established in 1912 by Lucien Vogel, La Gazette du bon ton appeared until 1925, with a hiatus from 1915 to 1920 due to the war (the editor-in-chief having been called up for service). It consisted of 69 issues printed in only 2,000 copies each and notably illustrated with 573 color plates and 148 sketches of the models of the great designers. Right from the start, this sumptuous publication "was aimed at bibliophiles and fashionable society," (Françoise Tétart-Vittu, "La Gazette du bon ton", in Dictionnaire de la mode, 2016) and was printed on fine vergé paper using a type cut specially for the magazine by Georges Peignot, known as Cochin, later used (in 1946) by Christian Dior. The prints were made using stencils, heightened in colors, some highlighted in gold or palladium. The story began in 1912, when Lucien Vogel, a man of the world involved in fashion (he had already been part of the fashion magazine Femina) decided, with his wife Cosette de Brunhoff - the sister of Jean, creator of Babar - to set up the Gazette du bon ton, subtitled at the time: "Art, fashion, frivolities." Georges Charensol noted the reasoning of the editor-in-chief: "'In 1910,' he observed, 'there was no really artistic fashion magazine, nothing representative of the spirit of the time. My dream was therefore to make a luxury magazine with truly modern artists...I was assured of success, because when it comes to fashion, no country on earth can compete with France.'" ("Un grand éditeur d'art. Lucien Vogel" in Les Nouvelles littéraires, no. 133, May 1925). The magazine was immediately successful, not only in France but also in the United States and Latin America. At first, Vogel put together a team of seven artists: André-Édouard Marty and Pierre Brissaud, followed by Georges Lepape and Dammicourt, as well as eventually his friends from school and the School of Fine Arts, like George Barbier, Bernard Boutet de Monvel and Charles Martin. Other talented people soon came flocking to join the team: Guy Arnoux, Léon Bakst, Benito, Boutet de Monvel, Umberto Brunelleschi, Chas Laborde, Jean-Gabriel Domergue, Raoul Dufy, Édouard Halouze, Alexandre Iacovleff, Jean Émile Laboureur, Charles Loupot, Chalres Martin, Maggie Salcedo. These artist, mostly unknown when Lucien Vogel sought them out, later became emblematic and sought-after artistic figures. It was also they who worked on the advertising drawings for the Gazette. The plates put the spotlight on, and celebrate, dresses by seven designers of the age: Lanvin, Doeuillet, Paquin, Poiret, Worth, Vionnet and Doucet. The designers provided exclusive models for each issue. Nonetheless, some of the illustrations are not based on real models, but simply on the illustrator's conception of the fashion of the day. The Gazette du bon ton was an important step in the history of fashion. Combining aesthetic demands with the physical whole, it brought together - for the first time - the great talents of the artistic, literary, and fashion worlds; and imposed, through this alchemy, a completely new image of women: slender, independent and daring, which was shared by the new generation of designers, including Coco Chanel, Jean Patou, Marcel Rochas, and so on... Taken over in 1920 by Condé Montrose Nast, the Gazette du bon ton was an important influence on the new layout and aesthetics of that "little dying paper" that Nast had bought a few years earlier: Vogue. [FRENCH VERSION FOLLOWS] Estampe originale en couleur, rehaussée au palladium, tirée sur papier vergé et signée en bas à gauch
Acquatinta e bulino a colori Carta Pescia. Firma a matita. Cm 21,5 x 180 (Foglio 50x35). . . Ottimo (Fine). . Tiratura 90 + X. .
Acquaforte originale n. VII dall'Album N.1 edito da XX Siècle, Parigi e Léon Amiel, New York Firma e numerazione a matita. Carta Vèlin de Rives. Stampa della calcografia Lacourière di Parigi. Esemplare 17/50. Cm 36x29,8 (Foglio 51,5x38). . . Ottimo (Fine). . Tiratura: 50 + XV + 3 esemplari intestati. .
Acquaforte Esemplare 86/90. cm 35x34,5 (Foglio 70x50). pp.. . Ottimo (Fine). . 90. .
RARE book of eight short stories by the renowned Jewish author Isaac Leib Peretz (1852-1915), translated into German and illustrated with eight highly-expressive lithographs by the eminent German-Jewish (later Israeli) artist Jacob Steinhardt (1887-1968). 300x240mm. 89 pages. Beige board rebound illustrated Hardcover with cloth spine. Text block upper edge dyed red. Parts of original spine pasted on spine. Cover browning and stained. Cover edges bumped. Pages yellowing, slightly wavy and rough-cut (as published). All plates clean. [SUMMARY]: This exquisite combination of Jewish literature and Jewish art is overall in good condition.
RARE book of eight short stories by the renowned Jewish writer Isaac Leib Peretz (1852-1915), translated into German and illustrated with eight highly-expressive lithographs by the eminent German-Jewish (later Israeli) artist Jacob Steinhardt (1887-1968). 300x240mm. 88 pages. Beige board illustrated Hardcover. Cover browning, worn and stained. Cover edges worn, cover corners bumped. Spine missing. Previous owner's name written in ink on whitepage. Binding slightly visible between pages 48-49. Pages yellowing, age-stained, slightly wavy and rough-cut (as published). [SUMMARY]: This book, an exquisite combination of Jewish literature and Jewish art, is otherwise in good condition.
8vo., First Edition, with engraved frontispiece and cover vignette, neat pencilled inscription on frontispiece; original pictorial wrappers, sewed as issued, covers very lightly dust-soiled else a near fine copy. Ariel Poem 5. Gill 278; Physick 478, 479; Sullivan 70.
Limited edition. Copy #341 of 2000 copies. Signed by Pellegrini. 195X270mm. Unpaginated. Gilt Hardcover. Cover slightly curved. Cover edges water-stained. Spine water-stained and slightly worn. Cover corners slightly worn. Sticker on front inner cover. Else in good condition.
Acquaforte bulino e vernice molle Carta Pescia. Firma a matita. Esemplare 4/90. cm 29,3x16 (Foglio 50x35). . . Ottimo (Fine). . Tiratura 90 + X. .
pp. (14), 384 + Frontis portrait and four unusual engraved plates. Small 8vo. 170 mm. Handsome early full leather binding; elaborately tooled in blind with floral corners to decorated frames. Original figural metal clasps on leather straps. The binding is somewhat worn, but still very attractive. Schmolck (Schmolkens) was a Silesian Lutheran pastor who wrote over 1180 hymns, some of which are still being sung. Their biblical and sentimental character made them very popular. This edition is very scarce. A rare and attractive piece. **PRICE JUST REDUCED! GER-GER1
The best bibliography of materials relating to Goya's prints. Hundreds of items. 8vo. Original wraps. Like new.
Acquaforte a colori Firma e numerazione a matita. Timbro a secco dello stampatore Giorgio Upiglio, Grafica Uno, Milano. Esemplare 13/70. cm 77x53 (Foglio 99x70). . . Ottimo (Fine). . Tiratura 70 + XII esemplari. .
68 pages. Profusely illustrated in black and white. Printed on glossy stock. Average wear. Unmarked. A sound copy. Book
First and only edition of this excellent bibliography of prints and printmakers. Still the best source for evaluating the rarity and value of books in this area published before 1910. Edition limited to 400 copies printed on fine Arches laid paper. 4to, original wraps. Uncut. Light wear to wraps, else fine and bright. Levis, p. 477.
Nancy, Éditions Jean-Marie Cuny, 1986; in-8 oblong, 244 pp., broché. Préface de Jean-Marie Cuny. Petit dictionnaire des illustrateurs et graveurs de Lorraine, du seizième au vingtième siècle. L'auteur dit dans sa préface qu'il publiera un ouvrage sur les illustrateurs et graveurs ayant travaillés en Lorraine pour compléter cet ouvrage (le parti est intéressant, mais je ne pense pas que l'ouvrage ai été publié ?). Nombreuses illustrations en noir et blanc. Très bon état.
Nancy, Galeries Poirel, 1992; in-4 (230 x 270 mm), 96 pp., broché. Hommage à Jacques Callot (1592-1635). Exposition de juin à septembre 1992. Nombreuses illustrations en noir et blanc et quelques-unes en couleurs. Très bon état.
S.l., s.e., s.d. (vers 1780); 120/225 mm, 1 pp., une feuille. Gravure issue d'une suite de Jacques Callot représentant la passion. Bon état.
Roy. 8vo., First Edition, with frontispiece and wood-engravings (a number full-page) in the text; rose boards, backstrip with printed paper label, uncut, a near fine copy. EDITION LIMITED TO 150 NUMBERED COPIES SIGNED BY THE AUTHOR (THIS COPY NO. 53).
RARE album of graphic works by Helmut Andreas Paul Grieshaber (or HAP Grieshaber, 1909-1981) - an eminent German artist known for his large format woodcuts. The woodcuts are accompanied by poetry and prose of Grieshaber's companion in his later years - Margarete Dorothea Hannsmann (1921-2007) - an eminent German writer who also published under the pseudonym Sancho Panza. 390x260mm. Unpaginated (128 pages). Illustrated Hardcover. Cover and spine dirty. Cover upper corners slightly worn/bumped. Cover edges and spine edges bumped. Spine hinge edges torn/tattered. [SUMMARY]: This extremely rare large format album of exquisite graphic works and texts by eminent 20th-century German artists is otherwise in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
